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January 29, 2022 by TPAB~
Dororo (2019) Review
This is review number four hundred and fifty eight. This anime is part of the Winter 2019 lineup, and it's called Dororo. It's an anime about a fifty five year old manga. Isn't that something? Let's read on.
Hyakkimaru goes on a journey to retrieve his lost body parts stolen by demons. As he regains them, he soon realize he was sacrificed for something bigger and there are people that benefits on his sacrifice. He didn't choose to be sacrificed though, and he would see the world crumble just to retrieve what is originally his.
So here's a fun fact about this anime: the manga was fifty two years old when the anime adaptation came out. I believe this was a trend where studios adapt very old manga and breathe new life to it. I'm a fan of this trend, because Parasyte the Maxim is one of my favorite anime and the adaptation was a lot more impactful than the manga. Dororo is the exact same thing. They took the manga, internalized everything about it, and then completely overhauled it. I saw a few pages of the original source, and I had to stop. 60s manga just isn't for me, and that's fine. The 2019 adaptation looks nothing like the manga though. It's darker, serious and a lot more depressing than anything you'd get back in the 60s. I'm honestly surprised how much was overhauled. Parasyte still kinda respected the original source and just updated some minor points like replacing the school jock bully with a 2010s emo bully. Dororo changed so much, from its presentation to its updated visuals. The manga was seemingly eaten by twelve demons – or forty eight if you stuck to the manga – and a sleeker version came after. Here's another fun fact about the manga though, it's by Osamu Tezuka. Yknow, Astroboy and sh*t.
The Father of Manga
This is the dude that worked so hard in his life, his final words were "let me work". I'll be completely honest: I'm not a fan of Tezuka. I understand how ground breaking his work was and how influential he is, but he lived in a different era than me. His works aren't exactly timeless and it turns me off. I won't deny how impactful he is though as a creator. He did so much and influenced so many. A lot of future mangakas watched Astroboy in black and white vowing to make something cool like that as well. Hell, the guy created the ecchi genre with another of his title. I think I reviewed it before, and I absolutely hated it. Back when Tezuka was a mangaka, the medium was still heavily influenced by western elements so reading his works remind me of Popeye with how bulky his design is and how his comedy is out of place. As I said, his works feels outdated now. I think the only Tezuka work I ever liked is Black Jack, because it does highlight how influential of an author Tezuka is. Black Jack's sidekick is a psychic tumor given a doll's body. Osamu Tezuka had incredible ideas, but he was a product of his time. Early anime was heavily influenced by the west as well, and I think Tezuka was among the individuals that eventually helped the industry try to find an identity outside what Disney was doing. I'm basically making a long rambling paragraph about this dude, because I do remember the last Tezuka anime I watched. I didn't like it, and I shudder to think what I would feel if Dororo actually stuck to what Tezuka presented. The manga had this scene:
I stopped reading afterwards. Was this misplaced comedy in the anime as well? After all, we need to respect the original source. That's really the fun part. Osamu Tezuka's influence was barely felt in the anime. Honestly, I didn't sense anything he did when watching the anime. It was a complete restart. They built the same story, with the sane characters, from the ground up and the result is absolutely phenomenal. Let's talk Dororo.
The show has a very basic premise. It follows a dude named Hyakkimaru that goes around slaying demons. Big deal, right? Except this dude was born with no eyes, ears, arms, legs, and any other good parts. Essentially, he isn't human at all. At the start of the series, a feudal lord named Daigo Kagemitsu prays to a bunch of demons to help him protect his land. They agreed, but it comes with a price. They went ahead and ate his son. Daigo doesn't care, because he can make a new baby with his wife. The demon child was sent away to die, except he didn't die. He lived and now he has two swords where his arm is supposed to be, and he goes around slaying demons now. Here is the kicker: every time he kills a demon, a part of him returns that was eaten by the demons before. Hyakkimaru is now on a quest to retrieve his body, but breaking the deal means losing the protection of the land. As he tries to take what is his, the demons are also backing out of their deal. It will get ugly, but can you blame Hyakkimaru for taking back what's his?
I salivated when the premise was established. It was just so well done, and there was no big exposition dump to establish it all. No one explained why there is an altar full of demons that someone can pray to and no one explained how the demons ate Dororo. All of this beautiful plot was told through the visuals and the stunning character work of the anime. The first episode is so well-executed that you already have an idea where the series is headed. The wonderful part is that the characters leave such a strong impression on you. Daigo's unwavering stern face will stick with you. Hyakkimaru's porcelain mask holds so much personality that it draws you to him, and Dororo's frenetic energy gives you an idea what kind of sidekick he is. It's funny because I felt no sign of Tezuka's style in this anime. I'm sure it was here, but I just didn't sense it. The series composer effectively updated everything, and the director told such a strong story with just the visuals. This is the first episode, and I can already tell that this anime is going to be amazing.
The anime is effectively divided into two parts though. The first half is Hyakkimaru and Dororo going on a journey killing demons along the way. From episode two to ten though, the show featured standalone stories and one off characters. Our two main leads are just outside observers experiencing the plot along with the audience. The first half killed my excitement for the series, because a lot of the stories are pretty simple compared to its mouthwatering big premise. I'm not saying the stories are bad, but they're pretty predictable for my own standard. I believe this is Tezuka's own stories, since the manga featured a lot of individual stories as well, but they also lean heavily on Japanese yokai folklore. There is a lot of emphasis on the kind of yokai monster Hyakkimaru will face off with, and the general atmosphere of each place the duo visits. Again, the outcome for the episodes are pretty predictable though. I believe the second episode featured a demon sword, and you already have a good idea where it will end. For each kill though, Hyakkimaru gets a body part back and there are some episodes focused on Hyakkimaru trying to adjust to his new senses. As the story progresses too, two recurring plot points are established. It presented the duo of Hyakkimaru and Dororo growing together through their shared experiences, and it also features the effect of Hyakkimaru breaking the demon's deal. We see Daigo and his clan slowly see his fiefdom fall apart as its riches are drain away.
The beauty of the first half of the anime is to really establish Hyakkimaru and the journey he had to get his body back. The first episode featured him drifting in a boat as a baby, and then we jump to the present day story. In the first half, we are slowly told in bits how he survived being a creepy baby up to the man we know now. There is also this endearing element to him that draws you in. Having denied the right to live as a human, he really had to fight for everything he had. You would always feel a sense of triumph when he regains his sense of hearing and he thinks the noise of a crackling fire is too much. There is this wonderful humanity displayed that makes him such a compelling character. That is really what makes this anime such a joy to watch. The stories can be pretty predictable and lackluster in the way it's presented, but you cannot deny how strong the character showcase is. Every character, one off or recurring, stood out in their own special way.
Character Showcase
I will tell you that the show is a bit of a slow burn. Since a lot of episodes feature a new story, you often have to watch the plot boil back up again each time. To balance out the dragging pace, the show packs a lot of punch with the visuals and the characters it presents. I don't remember much of the standalone stories, but I still remember Mio dying for rice seeds. I still remember the spider lady falling for a human. I still remember the ghost monk that terrorized a village with its bell. I still remember the one armed guy with two sharks. I still remember the guy that fed his mother to a demon. I still remember the mother with scalding soup in her cupped hands feeding her son. These characters make the series so special for me, because they leave a pretty good impact. Their situation and their personality are uniquely their own, and this makes them standout in their own way. You often watch the show not for the different situations Hyakkimaru will stumble into or the demon he will fight, but the people wrapped up in the story. You would look forward to the ones struggling with the situation and the ones making the best of it all. This is incredibly hard to do, since a lot of these characters are honestly just one dimensional plot devices except they aren't. The writer is so talented that she will make you care about these plot devices. She'll make you understand just how compelling of a character they are.
If the one off characters are great, then the recurring ones are even better. I love Hyakkimaru's mother longing for his dead baby and praying to a headless goddess. She is always in the background whenever bad news befalls Kagemitsu's land. She would always turn to her husband and remind him of the horrible thing they did. Daigo is such a character too unapologetic in what he did and clinging onto sands being washed away be the rain. I especially love Tahomaru and his slow turn into the effective villain of the series. His naiveté was snuffed out by his situation and he was forced to play the part he wasn't meant to play. You can feel the maturity being forced into him, and you just feel sorry for the guy. There is also Dororo himself who travels alongside a disabled demon hunter. He started out as this energetic sidekick, but I assure you, he doesn't stay on the sides for too long. The situation always has something for him to do, and he eventually becomes an important character in his own right. I realize just now that I had to pull back on spoilers but I also want to talk extensively about the characters. It often sucks when you have to control your spoilers. The characters are effective though, not because of the plot. In a rare case of brilliance, it was the visuals that brought everything to life.
There was very little emphasis on the ghouls Hyakkimaru fight, because it always feels like they are just part of this established world. In the first episode, Hyakkimaru was put on a boat by a midwife, and the lady was promptly eaten alive by a ghoul afterwards. It was not a shocking moment. It wasn't portrayed as a cruel thing. It was just something that happened. I was actually waiting for the twelve demons to regain what Hyakkimaru was trying to take from them, yet the demons never really become villains of the story. They were inconsequential like true unforeseen forces in the world. There was never emphasis on the bad stuff of this world, because the anime was more concerned with showing the world itself. The people that live in it, the political climate, the state of the warring era, the ghouls that comingle with the animals and the humans, and the very beauty of feudal Japan. There is a big emphasis on the effects of samurais and their self-righteousness that affects the everyday people. There is a big focus on the suffering that the one off characters have to live with, and there is a big feel of the everyday life they go through. It's such a restrained form of storytelling, because there isn't a lot of dialogue to give light to this world. The viewers often just have to see it, to feel it and to see the characters live in it. It's pretty incredible, since the wonderful world building trickles down to everything else in the show. The characters are elevated, the action is given more punch, and the overall experience is just phenomenal. So much love is put into the world building that it makes the entire anime great.
I honestly would've loved more involvement from the demons, but it was clear the show was trying to highlight something else. The show never really establishes a true villain for the viewers to hate. In the end, everyone is just a product of their world. Some are born of greed, some knows mercy and some are just simply trying to survive and I respect that fully. We are always seen how awesome wars from the Sengoku era is, but we never see how it affects the everyday people. You don't see the fear in the eyes of the farmers forced to be drafted. You don't feel the pain of people whose villages were burned down to make way for the marching cavalries. You don't see the desperation of the people affected by the war and the samurais that enforce it. You are conditioned to love awesome action scenes and the death toll rising, but you are never brought back down to the ground to see just how horrific it can be. This anime is amazing at giving us such an even handed portrayal of the world. To be fair though, I crave long drawn out action sequences in this anime, but long after watching, I soon realized the anime has something better to offer.
The Trolley Problem
Wiki-sama states that "the trolley problem is a thought experiment in ethics about a fictional scenario in which an onlooker has the choice to save 5 people in danger of being hit by a trolley, by diverting the trolley to kill just 1 person." It feels weird for me to feature a lecture in some of my reviews, but this was a very strong element of the anime. The suffering of the people leads back to Hyakkimaru obtaining his lost body parts. The more he becomes human, the more the world suffers so the choice has been thoroughly laid out. Would you allow Hyakkimaru to live as a human in exchange for the suffering of a fiefdom? You've seen them fight for their lives in the stand alone stories, so it becomes really hard to root for the main character. This was a beautiful subversion presented by the anime. Even though you've travelled with Hyakkimaru for a long time, you are never really rooting for him truly. I know I wasn't. The audience often just feels like a distant observer since you can never really relate to the main character. You can feel his pain, and you agree to his plight but would you let five people die to save him? Some of the characters had to make that choice, and they all have their own reasons in regards to their decisions.
Here's the fun part though. What if Hyakkimaru isn't the likeable lead he turns out to be? What if he is a chaotic evil of this world, and he needs to be stopped? Once you reach the second half of the anime, Hyakkimaru becomes a questionable lead. I personally stopped cheering for him, and I had to accept that the world building was so wonderfully established that it made me question where he fits in it. Truth is, he doesn't fit in this world. He is an outlier, and he always felt like one. He had no right to be in this world, and the show slowly tries to make that point clear. There is a point in the show where a ghoul was trying to fight for its life because Hyakkimaru was trying to kill him. The show made me care more about the ghoul than the hero that needs to vanquish it. It's such an amazing thing to feature a double turn in the narrative. The story is just that good. You often see the damage Hyakkimaru leaves behind in his quest to retrieve his body parts, and it gets ugly. It really becomes a bit hard to watch, since I honestly wanted Hyakkimaru to die at some point. I wanted him to fail, and how many anime made you want to cheer for the hero to die? I've seen anime make sociopaths cool, yet you rarely see a righteous figure demonize by its own show. The anime kinda shot itself in the foot though. It setup a trolley problem, and it has to choose an answer in the end as well. I don't need to spoil it. The ending will be a bit questionable, because the show is never really prepared to answer its own trolley problem. But it has to.
The anime kinda crawled to an abrupt ending. I'm going to lightly spoil the ending so skip this part if you want. I don't really talk about endings in my review, but this has to be reviewed as well. Its part rushed and part lackluster. It seems rushed as if the anime caught up to the manga, but I think the manga itself has a crappy ending. In reality, the anime overhauled the story so much and introduced so many elements that it had to figure out an original ending. No matter what ending was put forth though, the end result will not be as good as the even handed storytelling we've experienced so far. It felt lackluster because the anime established this wonderful philosophical argument to its viewers, and it never really followed through. Going back to the trolley problem, it seems the show just isn't sure how to justify its own choice. Don't get me wrong, the ending was decent but it could've been better. It is the biggest deal breaker for this anime. The slow burn, the lack of significant action, the predictable one off stories are honestly not a draw back for the series. The ending though, the final impression of the show, wasn't a good one. Rather, it wasn't a satisfying one. It isn't the ending the show deserved, and that's my stance on it.
Furuhashi, Kobayashi and MAPPA
Yasuko Kobayashi is the series composer for Shakugan no Shana, Jojo's Bizzare Adventure and the Attack on Titan series. She is a behemoth, and she is also a screenplay writer for some live action series. You want to see how incredible of a writer she is? Check her out in this anime. She seemingly stripped the Tezuka manga bare, rebuilt it with new plot points and elements and made something much more amazing. I particularly love the confidence in her writing. I never once questioned anything in the show, because it always has time to justify things. It's pretty incredible, and I bet she can make me salivate more with her tight storytelling. Series composition is just one part of it though. The visuals has to rise up to the occasion as well. Kazuhiro Furuhashi is a known storyboarder and he directed a few video games. He also directed some old series like You're Under Arrest and Rouruni Kenshin, and his experience shows. I love the visuals of this anime, and I'll talk about that liberally later on. I love how the visuals carry the storytelling of this anime and how it really bulks up the wonderful world building. Restraint is something you learn overtime, especially as a director, and Furuhashi expertly shows it in this anime. It seems a lot of people went sh*t over this anime, and they claim this anime as the best show MAPPA ever produced. I guess in terms of technical aspects then this anime is incredible, but MAPPA is a flexible studio. They wowed me with Rage of Bahamut and made me laugh with Zankyou no Terror. They also made Yuri on Ice, so I think this studio just did great things once it got its groove. Is this the best MAPPA anime? I'll have to watch a bunch of their works to judge that. I will say this anime is supremely incredible.
Osamu Tezuka's character design is outdated. I personally hate it. I prefer big headed bug eyed freaks in my anime. His design is synonymous to his legacy though, so a lot of people are fond of it. This legendary design is not present in the anime though. Honestly, if I saw Tezuka's design in this anime I probably would've hated the show by default. I think in order to establish the seriousness of the story, the anime had to abandon his design. Hiroyuki Asada had a tough choice of not just updating the design but completely diluting Tezuka's influence in them. The result is pretty awesome though. I love the bulky design of the show. It feels modern yet familiar. I think the only design that pays tribute to Osamu Tezuka is the blind monk that appears from time to time. He seems to be the only link to the past. Everything else is pretty great. I love Hyakkimaru's design, because it looks so simple yet it compliments his character. He wears a simple peasant clothing while his piercing gaze is serious and stern.
Dororo is honestly the same sidekick Black Jack has, except he doesn't remind me of the psychic tumor in the latter series. Instead, he has a unique character of his own. I love how you are never reminded of his role as the goofy sidekick, because the anime made sure he had a deeper role to play. He isn't just the default damsel, or the wise cracking idiot. Honestly, he is as human as the rest of the show. He is often more mature than anyone in the series. Design wise, I love his small frame and his bare chest since it always reminds you how he grew up in the dirt fending for himself. The period piece design is something that heavily contributed to the world building, so I do believe it did wonders to elevate the show.
The ghouls were also massively overhauled. There was more emphasis on how menacing they are, and they look bigger than their manga counterpart. Some of them are amazingly designed as well. I particularly love the chimera monster in the latter half of the show, but almost every ghoul is uniquely designed. The spider lady, the moth lady, the man eating sharks and even the lady rat protecting her babies are all beautifully designed.
Animation is incredible. You always feel like the two characters are in a journey because of how wonderful the view is in the show. Furuhashi always gives us strong establishing shots that injects the proper atmosphere to the scene. There is a big love to nature shots and the calming approach of the feudal life, yet there is also emphasis on suffering through the establishing shots. It's a small thing that often goes unnoticed, but I love how it really lays out the beauty of the anime. The action itself isn't as exciting, but it does serve a narrative purpose. I believe the only truly great fight scene happened at the last episode. Every fight before it is just people slashing at each other. There is a lot of decapitation and gore though. A lot of characters are weirdly disabled, but the animation never really relishes the violence. Furuhashi's restraint as a director shines here. He never glorifies the violence. He never makes the deaths shocking in any way. Loss is just a part of this world, and he delivers that restraint in every opportunity. The wrong director would've put some nonsensical fan service at most point of the story, and I am thankful Furuhashi doesn't do that. The story speaks for itself, and he is just there to make sure the story shines through.
The anime has two OP songs. The first one is "Kaen" by Ziyoou-vachi. I hate this song. I don't like the emo undertones and I just plain hate the singer's voice. It's a pretty cool song though, and it's even better with the awesome OP sequence. It features a short montage of the events of the first half, some thoughtful foreshadowing, and it has this cool way of presenting the characters. I'm a big fan, and you can actually see some of Osamu Tezuka's influence peppered in here and there. The second OP is "Dororo" by ASIAN KUNG-FU GENERATION. You can't go wrong with AKFG. This song is awesome by birthright. It talks about Dororo's plight and the hope that lies beyond. I love this song and I love the OP sequence as well. Once you reach the second half of the song, the journeys become more personal and the OP shares that sentiment. It features the journey, the action and the impending ending that looms over the show. I listen to it constantly. I just enjoyed the song a lot.
The anime also has two ED songs. The first one is "Sayonara Gokko" by amazarashi, and it's a pretty awesome song. I don't know what it's about, but the song just rocks. I love it a lot more with the ED sequence. It features sketches of the two main characters and this sleek style that is unique to the ED. I love every illustration showed here, and I love the stylish animation that definitely stands out. The second ED is "Yamiyo" by Eve. This is another awesome song, and it kinda gives us an expositional understanding of the world building of the anime. It talks about suffering, the hope people fight for and just simply living life. It has an artsy ED sequence attached to it, but you'll mostly be drawn by the wonderful song.
9/10 "The narrative is masterful, and the experience it gives is unlike any other."
The ending honestly knocks the anime down a point, but the technical aspects brings it back up. It's a solid 8 for me personally, but the visuals and the soundtrack adds another point to the score. It's an amazing anime considering it's pretty much an overhaul of a very old story. Instead of just updating the source, it was built from the ground up and the result is incredible. The effort poured into this show is unlike any other. I highly recommend it.
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This entry was posted in 451-500, Anime Reviews and tagged Action, Adventure, Demons, Dororo, Dororo to Hyakkimaru, Hiroyuki Asada, Historical, Kazuhiro Furuhashi, MAPPA, Osamu Tezuka, Samurai, Shounen, Supernatural, Tezuka Productions, Yasuko Kobayashi, Yoshihiro Ike. Bookmark the permalink.
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2 thoughts on "Dororo (2019) Review"
PT | February 7, 2022 at 8:03 pm
Damn amazing. The anime from your words looks spectacular. Will give a watch!
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On the record with Steven Collens, CEO of MATTER
Aug 2, 2019 | On The Record, Top Stories
Since it was founded in 2015, Chicago healthcare incubator MATTER has helped hundreds of startup companies develop products and bring them to market. This summer, the company announced that its member companies raised more than $1 billion over the past four years.
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A new Illinois law will bar insurance companies from denying coverage or increasing premiums or rates for those who donate organs.
Report praises new Illinois cigarette tax, stresses more can be done to prevent cancer
Recent legislative action in Illinois has helped reduce exposure to cancer-causing behaviors, but more can be done to prevent smoking and treat those with the disease, according to a Thursday report from the American Cancer Society Cancer Action Network.
Durbin continues to push FDA to crack down on youth e-cigarette use
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U.S. Sen. Dick Durbin, D-Ill., continued his pressure on the Food and Drug Administration over electronic cigarette use among youths, calling on the agency to take action on a recent court ruling directing it to set a deadline for manufacturers to submit their products for public health review if they wish to remain on the market.
New law to streamline process for ex-offenders to enter healthcare industry
Gov. JB Pritzker signed off Wednesday on a plan intended to ease the process for a person with a criminal record to obtain a job in the healthcare industry.
Prescribing psychologists seek easier access to licenses under new law
A recently signed law should make it easier for prescribing psychologists to be approved for licensure.
Medicaid quality subcommittee seeks more collaboration
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A Medicaid subcommittee on quality care examined ways to increase collaboration in the program at a recent meeting.
Cook County Health board approves ambitious three-year road map
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Cook County Health plans to invest more heavily in infrastructure and court more patients with insurance. It also wants to become a provider of choice for county workers and attract additional expectant mothers.
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AMITA Health St. Francis Hospital plans to end obstetrics unit
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Illinois federal lawmakers request EPA take a stronger position on ethylene oxide
Jul 31, 2019 | Federal Government, Health Tech, Top Stories
Democratic members of Illinois' congressional delegation pressed the Environmental Protection Agency last week for stricter restrictions on ethylene oxide emissions, citing the ongoing situation at Sterigenics' Willowbrook facility and two other companies in Lake County.
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OSF, Perry Memorial plan to strengthen partnership
OSF HealthCare and Princeton's Perry Memorial Hospital are looking at taking their partnership to the next level. Perry Memorial has been an independent affiliate of OSF since 2007. "As we think about the future of health and wellness in the communities we serve, we know that a partnership with a comprehensive and integrated delivery system […]
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Home/About Agriculture/Information Services/Crop Report /Crop Report 2012/For The Period May 8 To 14, 2012
For The Period May 8 To 14, 2012
Five per cent of the 2011 crop had been seeded. Seeding was delayed in much of the province due to excess moisture.
5 year avg.
Twenty-two per cent of the 2012 crop has been seeded, according to Saskatchewan Agriculture's Weekly Crop Report. The five-year (2007-2011) average for this time of year is approximately 18 per cent seeded.
Significant seeding progress was made during the past week. Fourteen per cent of the crop is seeded in the southeast, 42 per cent in the southwest, 12 per cent in the east-central area, 17 per cent in the west-central area, 21 per cent in the northeast and 28 per cent in the northwest.
Provincially, 58 per cent of the field peas have been seeded, 40 per cent of the lentils, 25 per cent of the durum, 23 per cent of the spring wheat, 18 per cent of the canola, 18 per cent of the chickpeas and two per cent of the flax.
Warm and windy weather conditions over the weekend helped to dry up fields in much of the province. Cropland topsoil moisture is rated as 13 per cent surplus, 85 per cent adequate and two per cent short. Hay land and pasture topsoil moisture is nine per cent surplus, 85 per cent adequate and six per cent short.
Farmers are busy seeding, controlling weeds and moving cattle to pasture.
Fourteen per cent of the 2012 crop has been seeded in the southeastern region, up from five per cent last week. The five-year (2007-2011) average for this time of year is 23 per cent of acres seeded.
Twenty-seven per cent of the field peas have been seeded, 22 per cent of the lentils, 18 per cent of the canola, 14 per cent of the wheat, 10 per cent of the durum and five per cent of the chickpeas and flax.
Only small to trace amounts of precipitation fell on the region, allowing farmers to get back into some drier fields. The Maryfield area recorded the greatest amount of rainfall this past week (15 mm). Most fields are drying up with the warm, windy weather and many crop reporters have indicated that field conditions are better than this time last year. More warm weather is needed in the coming weeks to dry up wet fields. There are indications that there may still be some fields that will remain unseeded due to excess moisture.
Topsoil moisture conditions on cropland have greatly improved from last week. Twenty-eight per cent of the acres are rated as surplus while 72 per cent are rated as adequate. In CD 2A, 55 per cent of acres have surplus moisture, down from 80 per cent last week. Hay land and pasture topsoil moisture conditions have also improved, with 15 per cent rated as surplus and 85 per cent as adequate.
Many farmers have been tilling wet areas in an effort to dry the fields out. There have been reports of emerging pulses being drowned out in low spots. Pastures are growing nicely and cattle are now being moved. Winter wheat crops are able to be sprayed in drier areas of the field.
Farmers are busy seeding, controlling weeds and rolling pulses.
Significant seeding progress has been made in the southwestern region. Forty-two per cent of the crop is in the ground, as compared to 13 per cent last week. The five-year (2007-2011) average for this time of year is 31 per cent of acres seeded.
Seventy-five per cent of the field peas have been seeded, 61 per cent of the lentils, 45 per cent of the canola, 37 per cent of the durum, 34 per cent of the mustard, 27 per cent of the wheat, 25 per cent of the chickpeas and barley and two per cent of the flax.
Trace amounts of precipitation fell this past week. There are reports that some areas will need moisture in the coming weeks to help alleviate dry field conditions.
Crop reporters have indicated that five per cent of cropland acres have surplus topsoil moisture, 91 per cent have adequate moisture and 4 per cent are short. Hay land and pasture topsoil moisture is rated as two per cent surplus, 91 per cent adequate and seven per cent short.
Seeding is progressing rapidly with many farmers already done in some southern areas. There are indications that most farmers will be done seeding by this weekend if the warm weather persists.
There were reports of frost last week although little damage was done to emerging crops. Cereals, peas and canola are now emerging with some evidence of insect damage. There have been reports of shortages of seed treatments, fertilizer and glyphosate.
Farmers are busy seeding, branding cattle and moving them to pasture.
Twelve per cent of the crop is now in the ground, up from two per cent last week. The five-year (2007-2011) average for this time of year is 10 per cent of acres seeded.
Forty-two per cent of the field peas have been seeded, 34 per cent of the lentils, 13 per cent of the canola, 12 per cent of the wheat, nine per cent of the durum, eight per cent of the barley and seven per cent of the chickpeas.
Very little precipitation, coupled with warm and windy weather over the weekend, has dried up many wet areas this last week. However, crop reporters have suggested that excess moisture conditions in some areas are worse than a year ago. Several CDs are reporting soft roads and water continuing to run from sloughs. Farmers would welcome some warm and dry weather in the coming weeks.
Cropland topsoil moisture conditions have greatly improved since last week. These conditions are rated as 26 per cent surplus and 74 per cent adequate. Hay land and pasture topsoil moisture conditions have also improved and are rated as 28 percent surplus and 72 per cent adequate.
Pasture growth has advanced and cattle are being moved. There have been reports of fertilizer shortages and of stubble being burned in some areas. Many fields will not be sprayed for pre-seed weed control due to wet conditions and windy weather.
Farmers are busy seeding, heavy harrowing, controlling weeds and moving cattle.
Farmers in the region have 17 per cent of the crop in the ground as compared to two per cent last week. The five-year (2007-2011) average for this time of year is 17 per cent of acres seeded.
Forty-eight per cent of the field peas are in the ground, 19 per cent of the lentils, 18 per cent of the canola, 15 per cent of the wheat, 10 per cent of the durum, eight per cent of the barley and five per cent of the chickpeas has been seeded.
Trace amounts of rainfall were recorded this past week, with the Macklin area reporting the greatest amount (6 mm). Seeding has greatly progressed due to the warm weather this past weekend; however, pre-seed weed control has been delayed due to windy conditions. Cool nighttime temperatures have slowed down pasture and weed growth.
Moisture conditions have improved in most of the region. Cropland topsoil moisture is seven per cent surplus, 91 per cent adequate and two per cent short. Hay land and pasture topsoil is rated as one per cent surplus, 94 per cent adequate and five per cent short.
There have been reports of pulses and canola emerging in much of the region. Many crop reporters have indicated that rainfall will be needed soon to help germinate the more shallowly seeded crops.
Significant seeding progress has been made in the northeastern region due to warm and windy weather. Twenty-one per cent of the crop is now in the ground, up from less than one per cent last week. Seeding is greatly ahead of the five-year (2007-2011) average for this time of year (eight per cent seeded).
Fifty-two per cent of the field peas have now been seeded, 34 per cent of the wheat, 16 per cent of the barley, 14 per cent of the canola, five per cent of the canary seed and four per cent of the durum.
Trace amounts of precipitation and high winds have dried up fields and allowed most farmers to start seeding. Pre-seed weed control has been difficult due to the wind, but most fields will be sprayed in the next few days. Pastures are actively growing and cattle are being moved.
Farmers are busy seeding, applying anhydrous ammonia and controlling weeds.
The northwestern region has 28 per cent of the crop in the ground, up significantly from four per cent last week. The five-year (2007-2011) average for this time of year is 11 per cent of acres seeded.
Seventy-two per cent of the field peas are now in the ground, 40 per cent of the wheat and 20 per cent of the canola. Seeding has rapidly progressed due to warm and dry weather conditions in the past week. The Rabbit Lake area recorded the greatest amount of precipitation (7 mm) while the rest of the region recorded only trace amounts.
Cropland topsoil moisture is rated as two per cent surplus, 91 per cent adequate and seven per cent short. Hay land and pasture topsoil moisture is rated as one per cent surplus, 80 per cent adequate, 18 per cent short and one per cent very short.
There have been reports of light frost in the mornings and slow pasture growth. Some cattle continue to receive supplemental feed and there are indications that livestock water availability may be lower than normal. Precipitation in the coming weeks will be needed for both livestock and crops.
Farmers are busy seeding, controlling weeds and picking rocks.
Hay and Pasture Topsol Moisture Conditions
Crop Report for the Period May 8 to 14 2012 - Printer Friendly
Crop Report for the Period May 8 to 14 2012 - Printer Friendly.pdf ( 1.6 MB )


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An American haiku pet, editor, translator, publisher, organizer, filmmaker, public speaker, theorist and archivist.
The Interview : Jim Kacian
(The Wise Owl in conversation with Jim Kacian)
The Wise Owl talks to Jim Kacian an American haiku pet, editor, translator, publisher, organizer, filmmaker, public speaker, theorist and archivist who resides in Winchester, Virginia. He has written more than a score of books of poetry, mainly haiku or haiku related. His work has been translated into more than 40 languages. His individual poems have won such awards as The Harold G. Henderson Haiku Competition Prize (Haiku Society of America) (2005), and Poem of the Year from The Heron's Nest (2009, 2010 & 2012), as well as prestigious international competitions such as The Kusamakura International Haiku Competition (Japan, 2008), among many others. His books Long After, Presents of Mind, Six Directions: Haiku and Field Notes, Border Lands and after/image have all won The Haiku Society of America Merit Book Award for outstanding achievement in the genre.
Kacian also has edited dozens of English-language haiku books and journals, notably The Red Moon Anthology of English-language Haiku series (1996–2022), Knots: The Anthology of Southeast European Haiku Poetry (with Dimitar Anakiev, 1999), Haiku in English: The First Hundred Years (with Allan Burns and Philip Rowland, 2013), among others. Perhaps most relevant to this interview, he also created, edited and published contemporary haibun, the series of books (1999-2014, 2020-present) often credited with sparking the haibun revival in English (and even possibly in Japan), and its electronic relation, contemporary haibun online.
Kacian founded Red Moon Press in 1993, which has become the premier dedicated haiku publishing house in the world. Beginning in 2004, he began work on The Haiku Foundation. Among its offerings are The Haiku Foundation Libraries (hard copy and digital); Haikupedia, the online encyclopaedia of all things haiku; interactive features for any level of participant; a history of world haiku, with specimen samples, in original languages and English; and much more. Also, in 2013 Kacian created the first video haiga and haiku films, now both internationally recognized and practiced forms. He first presented them publicly via The Haiku Foundation website, and then collectively at the HaikuLife Haiku Film Festival which he inaugurated in 2015. In 2022, partnering with tech designer Richard Mavis, he offered the book film version of long after, a unique interactive rethinking of the reading experience via his 2008 book which focuses on the process of grief.
Thank you, Jim, for taking time out to talk to The Wise Owl. We are delighted and honoured to speak to you.
JK: Thanks for having me, and for your interest in my work.
TWO: You have made a name for yourself as a haiku poet. You started writing haiku when you were a teenager. For the benefit of the readers, please tell us what attracted you to this genre of poetry initially? How did your love for this form grow and evolve over the years?
JK: Actually, I did not encounter haiku until I was in my early 30s, through Jack Kerouac's novel The Dharma Bums. (I have written and published 'long' poems since high school.) Once it found me, though, it was pretty quickly apparent that it had some use for me, though I made a bargain with it early on. Like most newbies, I was keen to learn as much about it as I could, and to try my hand. But I decided that I would not try to publish my haiku until I had written a thousand of them. So from 1986 to 1988 I read and I wrote, but it wasn't until 1989 that I sent off my first submission. I have never regretted this decision, though were I to recommend to anyone today, I probably would recommend a couple hundred rather than a thousand. The interaction with capable editors is as much a part of the education into haiku as the reading and the writing, and I probably didn't need to wait quite as long as I did to engage it. This decision also inculcated in me another habit which I think has stood me in good stead through these decades. I do not submit my most recent work, but "put it in a drawer" for a year or more. When I look at it again, those many months later, it is almost always evident to me what the poem needs, and whether to submit it, edit it, or trash it.
TWO: You are a prolific poet and have authored as many as 20 books, nearly all of which are on/about haiku and related genres. Our readers would love to know and understand the source of your continuous creative inspiration.
JK: I do not have continuous creative inspiration — I probably couldn't stand it if I did, so just as well, and be careful what you wish for. I have sporadic inspiration, and I am a classicist in my approach to it: I understand that I am the dogsbody of the Muse, who will mete out her influence on her own terms and timing. I also recognize that, though she has supplied me primarily with haiku over these many years, she may veer into any number of other avenues at her own discretion, and that it is my obligation to write what she dictates. As a result, I have periods where I write almost no haiku, but might have other presentation formats more to the forefront of my efforts. Or none at all. It's not my call. My job is to keep the tools sharp so when I am needed, I am able to respond usefully.
TWO: You founded the Red Moon Press in 1993, which has become the premier dedicated haiku publishing house in the world. What made you start a publishing house dedicated to haiku publishing?
JK: My first forays into publishing were directly out of necessity. As mentioned, haiku decided it had some uses for me, and one of those uses was as a journal editor. I decided I wanted to try editing a haiku journal and began looking around for possible options in 1992. By 1993 I had settled on reimagining South by Southeast as an international quarterly, with certain regular features that I felt were not available elsewhere. And, very practically, I needed, in those days before widespread internet, a delivery system, which at that time meant print. I taught myself PageMaker and learned to do layout and design, and as a result needed to learn also about printing and distribution. It was all pretty much one foot following the other. By 1996 I had some years of journal publishing behind me and was ready to tackle books. The first collection I produced was Dee Evetts's endgrain, which became a kind of minor classic. So, I was off to a good start, and things followed pretty much on their own after that. By the end of that year, I had decided an anthology of the "best haiku and related work of the year" was needed, and so the Red Moon Anthology of English-Language Haiku was born. A couple years later I felt that new poets did not have sufficient presence in the haiku establishment, and so A New Resonance: Emerging Voices in English-Language Haiku came into being. And just after that I thought we needed a way to honor our recently deceased poets, and so I created the Postscripts series. These have been the mainstays of Red Moon Press over the years: individual collections, serial anthologies, and specific homages. At present we have over 400 titles, some 350 of which remain in print.
TWO: You have worked very hard at setting up the Haiku Foundation with its multiple offerings like The Haiku Foundation Libraries (hard copy and digital); Haikupedia, the online encyclopaedia of all things haiku; interactive features for any level of participant; a history of world haiku, with specimen samples, in original languages and English. It is a wonderful initiative which I'm sure is greatly appreciated by haiku lovers as well as haiku learners all over the world. Please tell us how this gem of an idea was born and a little about how you worked to make it such a resounding success.
JK: The response to the various offerings of The Haiku Foundation has been heartening, especially from outside the United States, where resources for haiku can be harder to come by. Our initial goal was to archive the history of English-language haiku, and to create new projects that served ELH going forward, but it became apparent very early on that this was not a sufficient vision for the Foundation. There was great interest around the world in what we were doing, and it feels, in hindsight at least, as though an international element was inevitable to our work, and we are much the richer for it. The initial impetus for the Foundation was a conversation I had in 2004 with the Kiwi poet Ernest J. Berry. Why, he asked me, could he not find all the past winning poems for the various international contests online somewhere? It seemed like a simple enough question, and I had no good answer, but I told him I'd think about it. It turns out there are many obstacles to creating the resource he had in mind, but the prompt made me wonder about other kinds of resources that might be made available, and also what was currently extant, and how they could be accessed. It turns out that very little was actually readily available short of library holdings in a few scattered locations, and as a consequence very little was actually of use to most poets around the world. THF used this as a jumping-off point, though in truth this is only one of very many resource paths we have explored.
I need to stress that while it is true that I have labored long and hard at this project, and continue to do so, I am far from the only one. The original steering committee of Dave Russo, Tom Borkowski and myself spent years imagining what THF might look like, and how we might deliver it to people around the world. It wasn't until 2008 that we made ourselves visible to the rest of the world, and not until 2009 that we became chartered by the Commonwealth of Virginia. Since that time, we have been enlarged by the extraordinary talents and efforts of hundreds of people who have felt this was a worthy place to volunteer their time and energy for a common cause of haiku. Though THF is identified with me, it is in fact everyone's Haiku Foundation, and only because of this does it have significance and cultural gravitas.
TWO: You created the first video haiga and haiku film, which has subsequently become an internationally recognized and practiced form. Do tell our readers about the conceptualization of this idea.
JK: I did, and the fact surprises (and also pleases) me, though there is certainly an element of inevitability to this. If I hadn't, I have no doubt it would have happened shortly thereafter, so at least part of the circumstance has to do with being in the right time and the right place, and with a set of skills that could be repurposed for the new vehicle. It's an exciting and still virtually unexplored domain, and a good place for someone looking to make a mark in the genre to consider. The origins are mundane: I had recently acquired a camera for the purpose of creating a short presentation film that The Haiku Foundation could use for an IndieGoGo fundraiser. I acquired software to process the raw footage and learned to use it. So, I had these new tools, what else could I do with them? As usual, the only real impediment to the creative process is the amount of time available. I would like to do much more in this vein, but the demands of the Foundation and the press supersede. I hope there will be a time in my future where I will be able to give myself over to my creative bent, but that is not now my current situation.
TWO: Do you have any special favourite among the various genres of Japanese poetry? What do you think of the haibun form which is a beautiful mix of prose as well as poetry?
JK: Of the Japanese short forms, it is really haiku that is unique. Tanka is quite nice, but not demonstrably different than short lyric from other cultures. So, it is haiku, and other forms incorporating haiku, such as haibun and haiga, that have always held my interest as the propagator of an effect that can't be had anywhere else in literature. The consequence is that if my poem is more 'Western' I will likely render it in a Western form, but the very specific sort of effect that haiku produces can only be done in haiku.
I love haibun, and as you are probably aware, I have been a champion of the genre for a quarter-century. When I was editor of Frogpond, at the end of last century, haibun was very rarely featured in haiku journals. I made it a regular, and common, element, and now it is an expected part of all the major haiku vehicles. Shortly thereafter, I began gathering haibun from the journals as well as soliciting unpublished work to create American Haibun and Haiga (AHH), which over the years has become contemporary haibun (and has added its internet component contemporary haibun online). This serial anthology has probably had more to do with the emeergence of haibun as a serious genre in Western literature than any other factor and has even inculcated a renewed interest in the genre in Japan. These resources continue to grow, and I'm sure we have not come close to tapping its potential yet.
And, as you might glean from the original name of the series, I have a keen interest in haiga as well. Just as haibun had no home back in those days, haiga was also rarely encountered. AHH was the first place where Western haiga artists could share their work with each other and an audience that might appreciate what they had accomplished. It is gratifying to see today that both haibun and haiga are regular and expected features of haikai presentations, but it was not that long ago that they were almost invisible.
TWO: You are like the Godfather of haiku. What would your advice to upcoming poets of the Japanese genres like haiku, tanka etc be?
JK: That is a rather grand thought, but in truth I am the inheritor of a rich and longstanding tradition that is only beginning its expansion into Western culture, and it has been my fate and privilege to be tasked with aiding with this expansion. There is much left to do, and if my work has been useful to making this possible, then it is time well spent and I am grateful for that opportunity. But because we are here in time and space, it does suggest opportunity for poets working in these genres. Haiku is particularly well-positioned to appeal to the minds and hearts of humans in our circumstances. They are short, which has become increasingly important as our attention spans diminish. They contain home truths, things which help us appreciate our immediate lives and surroundings, not philosophical abstractions. They connect us in a community of like-minded sharers of the planet, the value of which cannot be overemphasized. They are accessible to anyone who cares to consider them, potentially making that community as large as the entire populace. And at the moment they are largely outside the reach of economic considerations, which means they have their own integrity and do not serve monied interests as advertising or polemic. These are significant resources which other genres cannot claim. Add to this that some few even can change the way we perceive and think about the world and reality itself.
Haiku has not succumbed (at least not too much) to the self-importance that other genres have found necessary, but remains rooted in heart, in sharing, in community. We have an endless need for these things, but never more so than in our current circumstances. My challenge to poets coming to haiku and related genres in the coming months and years is to discover within yourselves where your allegiances lie: if you crave fame or wealth or collosal book sale numbers, you are probably better suited seeking them elsewhere. But if you feel that poems are a means to bring people together, as opposed to building an ego and a career, then haiku might be for you. If you manage to do both — well, you'll be the first.
TWO: Is there any new project or book you are working on? Please do tell our readers about it.
JK: I tend to favor large projects, as is probably evident from my history, and the projects I currently have in hand are not exceptions to this. I have been working for the past seven years on a peculiar potted history of haiku in the West, which I have hopes of publishing within the next year or two. I have also begun work on revising my 2013 volume Haiku in English. And I have a haibun project that is just starting to take shape in my mind. And of course, my work with the Foundation and the press keeps me very busy.
Thank you so much Jim, for taking time out of a very busy schedule to talk to The Wise Owl. We are deeply honoured and delighted to talk to you. We wish you the best with all your creative endeavours and congratulate you for all the great work you have done to encourage and inspire poets of the various Japanese genres.
JK: Thank you for your interest in my efforts, and for having me as your guest. If in fact I am encouraging and inspiring to poets, who could ask more? I look forward to seeing the fruit of these efforts in the coming years.
©2021-22 by The Wise Owl.


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Q: Enable updatedb for mlocate in CentOS or RHEL Even if the mlocate package is installed with dnf install mlocate the updatedb command is not scheduled to run.
That means locate <filename> return empty results.
How do you enable updatedb to be run automatically without creating your own scripts or cron jobs?

A: The mlocate package shipped with CentOS Stream 8 or RHEL 8 does not automatically start or schedule the updatedb command during package installation.
The installation package ships with a SystemD timer unit which you have to manually enable, which in turn runs the mlocate-updatedb.service. The timer replaces traditional cron jobs for updatedb.
Enabling the timer will start the service immediately:
systemctl enable mlocate-updatedb.timer

To start the updatedb process manually, i.e. if you have done major changes, you can run:
systemctl start mlocate-updatedb.service

redpajama_set_name: RedPajamaStackExchange


Our 685,000 sq. ft. includes ALL of the following on ONE site: indoor retail storefronts, cafe, creepy basements, double height space, chic urban offices, canal-side city views, loft-style apartment, AND lots of space to park your trailers onsite. We are one block from the Amtrak stop in Holyoke and Holyoke's historic HH Richardson train station.


Yesterday, I took advantage of the bank holiday weekend and actually left the house to be sociable with people my own age - something I've admittedly been avoiding since Easter - and go to see Avengers : Age of Ultron with my friends, most of whom had already seen the film and are all mad into all this kind of stuff ! So unlike my friends, I had actually never seen a Marvel film before, except maybe something to do with the Hulk when I was younger, so I wasn't sure whether I was even going to like it that much plus poor concentration span never really helps but not only did I not doze off once, I actually really enjoyed the film which was brilliant - all the battle scenes and everything are amazing, like holy crap !
So anyway, in order to be sociable, I obviously had to get off my laptop and out of my pajamas - what a weird word which I did not know how to spell until tonight, it looks very funny, okay shut up now, Grace - so I went all monochrome and denim again because originality, wow, do you hear the sarcasm through my voice ! I really love wearing these colours and textures together though, regardless of how 'basic' the combination is, I just think it is a classic 'go to' option and never looks awful ! My denim jacket is the perfect medium between too heavy or too light, it's seriously perfect for this time of year and also, it doesn't feel all bulky and uncomfortable under my coat so it is basically the best thing ever until I find a better jacket. And then of course, have to give a special mention to my sparkly shoes as always. They look a tad bit naff with the black tights but every time I wear them everyone's just like "YOUR SHOES" and I just stand there like is this a good or bad thing // I should have worn my normal boots // okay I'm a sparkly unicorn that's all g then. They're slightly uncomfortable to walk in at my normal pace - speed walk - but they survived the walk to the cinema without prompting me to fall over or do something stupid so they appear to be a slight miracle !
Thank you :D it's brilliant !


Broadway Stages invited Flushing YMCA to join us at our sound stages this afternoon to share our passion of film production. YMCA students and staff were given a full tour of 5 sound stages as part of our student enrichment program for New York students.
YMCA students were educated about the various components that makes a production look flawless on TV. Students were surprised to learn the hundred of personnels involved in the behind-the-scene activities for a single TV episode. Broadway Stages staff educated students and staff on the astronomical 4 million jobs provided by NY film economy in addition to the generous spending on local businesses by film production companies year round.
Broadway Stages were happy share the exciting behind-the-scenes into some of the student's favorite on-screen shows. As a traditional, all students received Broadway Stages t-shirts to remind them of our continued partnership with YMCA! Let's explore student enrichment together!
For more updates visit our blog here!


Transatlantic modernisms, modern poetry, women and modernism, textual criticism, gender studies, history of twentieth-century literary criticism, the Victorian fin de siècle, periodical studies, detective fiction.
University of Tulsa, University of Michigan.
Social Science and Humanities Research Council Grant, 2003, for annotated edition of the correspondence of Ezra Pound and publisher Stanley Nott.
The Classics in Modernist Translation, eds. Miranda Hickman and Lynn Kozak (Bloomsbury, 2019).
"Poppies, scarlet flowers, 'this beauty': H.D.'s Choruses from the Iphigeneia in Aulis and the First World War" (co-authored with Lynn Kozak). Classical Receptions Journal 10.4 (October 2018): 458–475.


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The architects practice von Gerkan, Marg and Partners (gmp) has won first prize in an urban design ideas competition for the restructuring of the parts to the north of the inner city and the Bussebart/Stadthafen area in the "Standort Stadthafen" planning section.
An important part of the town planning objectives is the development of the Hanseatic City of Rostock at and towards the water. It is intended to emphasise the utilisation of the existing potential of the proximity of the water to the historic inner city, and to find the ideal location for a new theatre.
The entire design area covers approximately 13 ha to the north-west of the core city area – from the Warnow River to Lange Strasse. The L22 state road runs from east to west and separates the design area into two parts, the Bussebart and the Stadthafen. The Stadthafen area extends to the north of the state road, comprising an area that is largely undeveloped.
For this reason, the proposal includes a building development that completes the northern part of the inner city, providing greater density and connections to the existing residential areas in order to create a place with urban activity throughout the year. Urban focal points are created and the social mix is ensured by the form of development using residential courtyards, small squares and buildings with prominent architectural elements and cultural references.
The port area will be developed in the characteristic Hanseatic style as a stage for public life in Rostock. The existing museum port, the historic cranes, the numerous large outdoor events and, not least, the view of the Rostock city skyline, make the area a stand-out location. Here, at Christinenhafen, the theatre will be placed on a raised platform, making a visual impact and providing a cultural bridge for access to the geographically somewhat higher historic city, which can be reached by crossing the L22 state road without having to negotiate its traffic. The public theatre foyer, arranged in a circular layout in an open gap around the floating building volume and the theatre platform, is understood as a platform from where both the port and the city skyline can be viewed. In addition, it is the focal point at which the "beach" bridge across the Am Strande road (L22), the "theatre platform" with the generous terraces to the west and east and the future pedestrian bridge across the Warnow River will join to form a square-like situation at Christinenhafen.
The Bussebart area will be emphasised as the historic edge of the town, featuring a carefully designed block structure that rounds off the historic urban layout. This urban repair continues the effort already made to upgrade the design of the historic city boundary at Kanonsberg and make it more prominent. An important objective is the balanced mix of residential and commercial development in order to promote a lively and varied ambiance. The design of the buildings with their gables facing the public front is an abstract reminder of the Hanseatic pattern of warehouse building. An inner access route through the courtyards will become a "green" path and a semi-public promenade through the new residential quarter between town and port.
The open spaces at Stadthafen have been designed with a generous, spacious feel. The open areas are seen to add quality and are intended to provide the necessary space for classic large events (HanseSail, Christmas market or similar) and for temporary events such as an open-air cinema, a city beach, or a skate park. Extra attention is given only to the edges of the raised theatre platform, which are made more attractive with sitting steps, benches, open-air lighting and podiums. The edges interlace with the existing promenades of the Rostock quay edges and create space for strolling and open-air sports activities. Much of the character of the landscape is represented by the theatre terraces stepping down to Christinenhafen.


text:
Sponsors & Corporate Relations
Job Seekers, Welcome to Children's Hospital Association Career Center
Assistant/Associate/Professor
Posting Summary: The Department of Neurology at the University of Virginia seeks applicants for a Child Neurologist at the Assistant, Associate or Full Professor rank (tenure eligible or tenure ineligible). The incumbent participates in caring for children with neurological disorders in the inpatient and outpatient settings. Rank and tenure status are dependent upon qualifications and experience.
Candidates must have an MD and be board-certified or board-eligible in Neurology at the time of hire with special qualifications in child neurology. To be considered for the tenure-eligible position, candidates must have a strong interest in a career in academic medicine and demonstrate scholarship and excellence in two domains consistent with the requirements for tenure in the School of Medicine.
The University of Virginia is located in Charlottesville, a setting with natural beauty. The Division of Pediatric Neurology is a strong clinical and research division, composed of senior and junior faculty with diverse interests spanning epilepsy, degenerative disorders, neuromuscular disease, neuro-oncology, neonatal neurology, concussion and headache. There is strong collaboration with its disease-specific programs and multidisciplinary centers. Additionally, there are strong core programs/facilities to support translational and clinical research.
To apply visit https://jobs.virginia.edu and search on Posting Number 0622908. Complete a Candidate Profile online, attach a cover letter, curriculum vitae, and contact information for three references.
Position will remain open until filled.
For additional information about the position, please contact Andrew Southerland via email at AS5EF@hscmail.mcc.virginia.edu.
For questions regarding the application process, please contact Greg Haskins at 434-924-2963 or gph3z@virginia.edu.
The University of Virginia is an equal opportunity and affirmative action employer. Women, minorities, veterans, and persons with disabilities are encouraged to apply.
Internal Number: 353_84158
About University of Virginia
Founded by Thomas Jefferson, the University of Virginia opened in 1825 as the nation's first public university. A longstanding dedication to preeminence in both scholarship and teaching; top ranking in global satisfaction, collegiality and work/family issues on the COACHE survey of early career faculty; a commitment to excellence that is integrally connected with diversity and a broad array of benefits make the University of Virginia a prime choice for both faculty and staff. The University of Virginia is located in the small cosmopolitan city of Charlottesville near the Blue Ridge Mountains, 70 miles from Richmond and 110 miles from Washington, D.C. The University of Virginia remains the No. 2 best public university in the 2013 edition of the U.S. News and World Report rankings. In the 14 years since U.S. News began ranking public universities as a separate category, U.Va. has ranked either No. 1 or No. 2. U.Va. continues to rank in the Top 25 among the best of all national universities, public and private.
Emergency Medicine Assistant/ Associate Professor Davis, California
University of California Davis 5 Days Ago
Assistant/ Associate/ Professor Pittsburgh, Pennsylvania
University of Pittsburgh 6 Days Ago


text:
Les musaranyes del terror (Dinosorex) són un gènere extint de eulipotifles que visqueren entre l'Oligocè i el Miocè a Euràsia. A Catalunya se n'han trobat restes fòssils a la conca del Vallès-Penedès.

El seu nom comú és una traducció poc rigorosa del nom científic Dinosorex, on deinos significa «terriblement gran» i sorex significa «musaranya». L'aparença letal de les incisives, força més desenvolupades que en altres espècies de musaranyes, i la seva gran mida corporal, però, acabaren consolidant aquesta denominació malgrat que no hi ha cap prova científica que fos una musaranya especialment temible o agressiva.

Un estudi revalà que Dinosorex visqué al nord-est de la península Ibèrica durant més de 3 milions d'anys sense presentar canvis morfològics. La seva extinció està relacionada amb un canvi climàtic que es produí fa 9,6 milions d'anys. Aquesta circumstància és bastant excepcional entre els micromamífers, car acostumen a presentar taxes de mutació elevades i, en el registre fòssil, s'observa com unes espècies en substitueixen altres en períodes relativament curts. Aquesta característica els converteix en elements molt útils a l'hora de datar jaciments.

Els darrers registres de les musaranyes del terror a la conca del Vallès-Penedès són de fa 9,6 milions d'anys, un període que coincideix amb el canvi important en la fauna conegut com a «crisi del Vallesià», que provocà l'extinció de diversos mamífers que havien estat característics dels ambients de bosc subtropical del Miocè. És possible que els canvis climàtics del Miocè superior provoquessin que, de mica en mica, les grans masses boscoses fossin substituïdes per boscos secs i oberts i praderies, cosa que hauria implicat un canvi en la fauna. Les musaranyes del terror, altament especialitzades per a la vida als boscos subtropicals, haurien acabat extingint-se.

Referències

Laurasiateris de l'Oligocè
Eulipotifles del Miocè

redpajama_set_name: RedPajamaWikipedia


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text:
Sela – wieś w Słowenii, w gminie Videm. W 2018 roku liczyła 196 mieszkańców.

Przypisy

Miejscowości w gminie Videm


It used to be that eating out was a way of celebrating special occasions. These days, it has become a routine among Metro Manila consumers who have to contend with a hectic lifestyle and the worsening traffic.
Online information on new dining places and food offerings has also fueled this phenomenon, according to the latest report by the market research firm Nielsen, which showed that people in the National Capital Region dine out of their homes an average of 42 times a month, or almost twice a day.
The report also indicated lunch and afternoon snacks as the most commonly eaten meals away from home. Among consumers pressed for time, the perennial question they have to answer is where and what to eat, the report said.
It added that diners often consider accessibility to their workplace or residence in their choice of dining places.
"Among the commonalities of these food [outlets] are their accessibility to the home or the work area, their offer of convenience and value for money," Nielsen Philippines managing director Stuart Jamieson said in a statement.
"Usually, in these establishments, it is faster for consumers to eat and go, or just grab and go. Consumers would also usually eat or buy meals on their way home, [en route] to work, or while at work. And when they do, they look for places where they can get their pesos' worth," Jamieson said.
Additional focused group discussions were held among Metro Manila participants aged 24-45 from Class ABC1 and Class C2, and among "young millennials" aged 18-24.
According to the respondents, they frequent five or more different types of eating places in a month, with quick service restaurants, convenience stores, neighborhood bakeries or bakeshops, and roadside eateries or "carinderias" being the most popular. They eat or buy food from these places at varying frequency—from once a week to almost daily.
The report noted that convenience stores have capitalized on this growing trend by offering diners a variety of choices and introducing precooked packed meals that can be reheated and eaten in the premises, or ordered as take-out meals.
Participants in the focused group discussion also cited the worsening traffic situation in Metro Manila as deterrents to preparing and eating home-cooked meals even during dinner, a challenge that could pave the way for the growth of such food outlets as rotisseries, barbecue stalls, food carts and kiosks.
Less frequently patronized and still reserved mainly for special occasions are pricier food outlets like casual dining places, sit-down restaurants, buffets and eat-all-you-can establishments, the report said.
Television—via ads or promotion on shows—continues to be an important source of awareness when consumers look for new places to dine in, the report said. Word of mouth and store display also place high in the respondents' list of information sources.
Social media, meanwhile, in the form of feature stories on food blogs and food reviews, are gaining traction among the internet-savvy younger generation, the report added.
"For startup dining places with less budget to invest on TV commercials or billboards, word of mouth and creating buzz online through blogs and reviews are practical alternatives, because they are also potent sources of awareness and information especially among millennials," Jamieson said.
"In fact, four in 10 respondents belonging to the age group claim the highest reliance on online food blogs compared to the more mature respondents," he added.


Daz Cameron was just trying to break out of a slump. He nearly made history in the process.
Houston's No. 5 prospect went 4-for-5 with three RBIs and fell a double short of the cycle as Class A Short Season Tri-City beat host Lowell, 8-3, on Monday.
The 19-year-old outfielder singled to center field in the first inning and went deep for the first time as a pro in the fourth, hitting a two-run shot over the left-field wall at Edward A. LeLacheur Park. Cameron added an RBI triple to center in the sixth and capped his day with an infield single in the eighth.
"He got himself into an advantage count. It was a 3-1 fastball, a mistake pitch that was left up and out over the plate," ValleyCats hitting coach Dillon Lawson said of Cameron's homer. "He absolutely hammered it. Got the barrel there on time and put it over the left-field fence pretty easily.
"From a swing standpoint, we saw a lot of the same stuff. He's been working extremely hard on refining his swing and taking advantage of his athleticism and incorporating that into his swing. He's done a phenomenal job of that since the season started. Today, he was finally able to put everything together. You see what the outcome was, it was a pretty special night."
A first-round pick in 2015, Cameron opened this season in the Midwest League, playing for the Class A Quad Cities River Bandits. The Georgia native batted .143 with six RBIs in 21 games and was reassigned to Tri-City on May 2.
"I think it helps to know what it takes to be successful at each level and getting experience, even if it's brief experience," Lawson said. "It helps you to be better prepared as you move forward. Really with all the experience, he's getting a better understanding of what it takes to be successful at the big league level."
In 10 New York-Penn League contests, Cameron is batting .267 with a .797 OPS and 11 RBIs. The son of former Major League All-Star Mike Cameron had struggled in his previous five games, going 3-for-21. But his coach expects Cameron's confidence should be on the rise now, even if his charge doesn't need that to succeed.
"There's no doubt that a night like that can create a lot of momentum," Lawson said. "But one of the best things about Daz is that it doesn't really matter if it's going well, it doesn't matter if he's struggling, he works just as hard every day and is focused on development regardless of the results. It's hard not to run with a day like today and feel good and have a lot of confidence when you step up to the plate."
Carmen Benedetti homered and drove in two runs while Taylor Jones scored twice for Tri-City.
Hector Perez (1-0) earned the win in relief, giving up one hit and two walks while fanning four over 4 2/3 innings.
Tucker Tubbs tripled home a pair of runs for the Spinners.


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The Arnold South America continental tournament in Sao Paulo brought together mas-wrestlers from six countries of the world
On April 30 an International mas–wrestling tournament, which has already become traditional, was held in one of the largest cities of Brazil - Sao Paulo as a part of the official program of the Arnold Schwarzenegger Sports Festival.
This is the second international mas-wrestling tournament within the Arnold Sport Festival this year. Recall that the first one was held on March 3-6 according to the approved IMWF Calendar Plan in Columbus, USA, and gathered mas-wrestlers from Benin, Pakistan, Uzbekistan and several American states. Initially, it was announced as a qualifier for participation in the World Mas-Wrestling Championship in Yakutsk. But certain events, unfortunately, will not allow some to share with us the joy of meeting on the Yakut platform and communicating in the homeland of mas-wrestling this summer.
But today we intend to tell about those who can. South America will be represented at the World Championship by mas-wrestlers from Argentina, Brazil, Colombia and Chile. We will save more detailed information about these participants of the upcoming championship closer to the date. And now let's move on to a specific event in Sao Paulo.
Mas-wrestlers from six countries of the world arrived to participate in the open-format continental level competitions: Argentina, Brazil, Pakistan, Togo, Uruguay and Chile. At the same time, participants from Brazil itself were from the states of Amazonas, Bahia, Curitiba, Minas Girais, Paraná, Rio Grande de Sul, Roraima, São Paulo, Santa Catarina and Espiriti Santo.
The main "players" are well known to the reader. This is the winner of the mas–wrestling World Championship 2018, Ricardo Gevart North from Floriannapolis, winner of international tournaments, presenter of mas-wrestling at the World Festival of Youth and Students in Sochi in 2017 Tiago Fernando dos Santos from Eldorado do Sul, winner of international tournaments, strongman Eduardo Visciglia from Argentina, president of the Mas-Wrestling Federation Chile, the world's top mas-wrestler Manuel Luis Angulo Jaime from Santiago, participant of the mas-wrestling World Cup stages, winner of many tournaments in Brazil Evandro Pomina and his friend, long-time mas-wrestling fan Clayton Rolin. It was gratifying to see a lot of newcomers. There are clearly promising ones among them. Rodrigo Osorio de Lima for example. By the way, he joined the Brazilian mas-wrestling sports team and will take part in the World Championship in Yakutsk in the weight up to 60 kg.
The atmosphere of the competition was quite emotional in accordance with the southern temperament of the participants. Among them, one of the triumphants of the men's competition, mas-wrestler from Africa Ikujor Abdulhaki Olegnin, born in 1987, distinguished himself by his restraint. He comes from the capital of Togo – the city of Lome.
Perfectly built, physically strong, with a height of 190 cm, with a real weight of 111 kg on the Brazilian platform, he performed in the weight category up to 125 kg. Despite the fact that he was opposed by a very strong opponent from the Brazilian state of Santa Catarina, Jetulio Stadnik, 37 years old, a student of Ricardo North himself, a sergeant of the special operations platoon of the military police, the national champion in Brazilian jiu-jitsu from San Jose, the Togolese managed to first even the score, and then snatch the coveted victory.
"I won my first medal in 2015 in powerlifting," Abdulhaki tells about himself, "Then in the same year I took 3rd place in the heavyweight division in "Strongman is the strongest man of Togo", and in 2017 I became the winner, becoming the strongest in the country. In 2018, I became the best in West Africa. The following year I participated in competitions in Saudi Arabia, wh ere I took first place.
I heard about mas-wrestling in 2016 at home fr om Mr. Dermane Allassane, President of the Mas Wrestling Association of Togo. In 2017, he organized the official mas-wrestling competitions in which I participated. In 2018, I became the national champion."
Giants Ricardo North from Brazil and Chilean Manuel Angulu met in the heavyweight category. The battle of the giants ended in favor of the former. It is not surprising, because he knew no equal in Columbus at a similar tournament and became the winner of the Arnold North America heavyweight belt, and then repeated his success in Sao Paulo in 2019, when he was applauded by Arnold Schwarzenegger himself.
They say that it is worth seeing once than hearing a hundred times. That is why the organizers are preparing a video report, which you will be able to see in the near future on the website of the International Mas-Wrestling Federation.
List of winners and prize- winners:
1 - Rodrigo Osório de Lima
2 - Carlos da Silva
3 - Antonio Farioli
1 - Roberto Ribeiro
2 - João Silveira
3 - Robson da Rosa
1 - Cleiton Rolin
2 - Alberto Franco
3 - Mateus Spier
1 - Adriano Acosta
2 - Maroon Rafi
3 - Marcos Pacheco
1 - Muhamad Hanzala
2 - Faizan Rafi
3 - Valmor Chagas
1 - Evandro Pomina
2 - Gabriel Dagostino
3 - Henrique Martins
1 - Pablo Viana
2 - Muhammad Mohsin
3 - José Freitas
1 - Ikoudjor Abdulhaki Olegnin
2 - Getúlio Stadinick Neto
3 - Tiago Santos
125+ kg
1 - Ricardo Nort
2 - Manuel Angulo
3 - Bruno Pereira
1 - Karen Cristine
2 - Flavia Oliveira
3 - Maria dos Santos
1 - Gil Cunha
2 - Karina da Silva
3 - Francesca da Luz
1 - Luciane Cristina
2 - Valesca Sousa
3 - Rosa Farias
1 - Michele Pedroso
2 - Marta dos Passos
3 - Lurdes Farias
1 - Rafaela Vieira Piona
2 - Raquel Ventura
3 - Débora Batista
South America is a promising territory for the development of mas-wrestling. Welcoming, friendly population, tolerant sports community, ready to accept new skills and knowledge. With the effort invested, you can get a good harvest. There are many mas-wrestling tournaments held here among different segments of the population: schoolchildren, college and university students, military personnel and police officers. Vilmar Oliveira also promotes adaptive mas-wrestling. Methodological and practical help is needed.
In mid-December, at the height of summer, a continental mas-wrestling championship is planned to be held in Santiago, the capital of Chile, wh ere athletes from all over South America intend to come. This was told by the president of the Chilean organization of strongmen and mas-wrestling Manuel Luis Angulo Jaime. And, of course, he is ready to accept the leadership of the national mas-wrestling federations headed by the IMWF Presidium. And it would be nice to make a high-quality film about the formation of mas-wrestling on this beautiful green continent. I am sure our reader deserves such attention.
On behalf of the leadership of the International Mas-Wrestling Federation, a member of the Presidium from Pakistan, Nawab Furqan Khan, presented memorable prizes from Yakutia to all the organizers and guests of honor as a sign of gratitude for the well-organized tournament.
Welcome to Yakutia to celebrate the 100th anniversary of the formation of the republic and the national holiday Ysyakh!
Lena Tomskaya, Sao Paulo, Brazil.
Author: Lena Tomskaya
Photo: Leno Kleiton
Number of shows: 994
IMWF Calendar plan
Mas-Wrestling Academy started its work in Almaty
Qualifying competitions were held in Mongolia with the support of TV5
Dhaka Women College "Ethnosport Training Seminar 2023" (Mas-Wrestling Event).
Mongolia is on the move!
Kyrgyz Republic's Mas-wrestling school is the best in Asia
Mongolia is ready to host the 2023 Mas-Wrestling World Cup stage
Mas wrestling isn't common in Canada, but Calgary is a growing hub
The composition of the national team of Yakutia for the Russian Mas-Wrestling Championship has been determined
World Mas-Wrestling Championship in Yakutia will be held on time
Deli Tamas, mas-wrestler from Hungary: I develop my own strategy against opponents at the World Cup
The Final stage of the Mas-Wrestling World Cup - 2015
Mas-wrestling: Strength. Mind. Tactics
Kolmar Cup International Mas-Wrestling Tournament - 2018
IV World Mas-Wrestling Championship


text:
Сикорски С-76 () је амерички хеликоптер средње величине којег производи корпорација Сикорски Еркрафт. Хеликоптер има два мотора и четворокраке носећи и репни ротор.

Пројектовање и развој

Пројектовање хеликоптера С-76 је почео половином седамдесетих година двадесетог века на бази хеликоптера С-74. Циљ пројекта је био хеликоптер намењен пре свега за велике пословне система и индустрију за бушење нафте. Хеликоптер је требало да буде способан да превезе туце људи и помоћни материјал.

Хеликоптер може да понесе од 12 до 13 путника и њиме може да управља један или два пилота. Хеликоптер има долет од 761 km и може да крстари при брзини од 287 km/h.

С-76 је први лет обавио 13. марта 1977. а до марта 2011. године произведено је 774 примерка.

Увидевши квалитет и употребну вредност овог хеликоптера војска САД је је наручила за своје потребе овај хеликоптер који је носио ознаку УХ-60 или популаран назив Блек Хоук

Технички опис
Носећа конструкција трупа хеликоптера је била монокок. Имао је пространу кабину у којој је број седишта зависио од типа хеликоптера и кретао се од 12 или 13 путника. Кабина је имала шесторо врата и велике стаклене површине које су обезбеђивале лепу прегледност у свим правцима. Војна и карго варијанта су имале шибер врата која су омогућавала лак утовар (укрцавање) и истовар (искрцавање) терета и људства.

Погон хеликоптера је био удвојен турбо-осовински мотор (два мотора спојена једним редуктором) смештених на крову хеликоптера у непосредној близини носећег ротора, који је имао четири крака. Репни ротор је имао такође четири крака и налазио се са леве стране хеликоптера. Стајни трап путничке варијанте је био трицикл типа (један напред два позади) са увлачећим точковима  а војна варијанта је имала фиксни стајни трап са два носећа точка напред а један на репу хеликоптера.

Варијанте

Цивилне варијанте
 S-76MkII - Хеликоптер са снажнијим мотором и модернизованијом конструкцијом.
 S-76A - Хеликоптер опремљен моторима Ролс - Ројс Алисон.
 S-76A - Хеликоптер опремљен моторима Турбомека Аријел.
 S-76B – Хеликоптер опремљен моторима Прат & Витни Канада PT6B.

Војне варијанте
 AUH-76 - Војна варијанта базирана на овом хеликоптеру.
 S-76 MkIIH-76 Орао - Војна верзија развијена од варијанте S-76B.

Карактеристике

Техничке карактеристике за модел S-76A+
 Посада: 1 или 2 пилота
 Број седишта: до 13
 Дужина (до ротора репа): 16,0 m
 Дужина трупа: 13.21 m
 Пречник ротора: 13,41 m
 Пречник репног ротора: 2,44 m
 Ширина трупа: 2,13 m
 Висина: 4,42 m (ротор на репу)
 Размах између точкова: 2,44 m
 Маса празног хеликоптера: 2545 kg
 Максимална полетна маса: 5307 kg
 Максимална тежина терета: 1616 kg
 Тежина горива: 3030 kg
 Величина резервоара за гориво: 1083 l
 Погон: 2 × Турбомека Ариел 2С2
 Јачина мотора: 2 × 688 kW

Димензије кабине
 Дужина: 2,46 m
 Ширина: 1,93 m
 Висина: 1,35 m
 Површина: 4,18 m²
 Запремина: 5,8 m³

Перформансе
 Максимална дозвољена брзина: 287 km/h
 Брзина крстарења: 259 km/h
 Максимални долет: 813 km
 Плафон лета: 3871 m
 Брзина успона: 8,25 m/s

Корисници

Коришћење у Југославији и Србији
Први хеликоптер Сикорски С-76Б је набављен за Јединицу за специјалне операције 2002. године. Према Југословенском регистру цивилних ваздухоплова за 2009. годину, један С-76Б је регистрован 2004. године са цивилном ознаком YU-HEG у власништву полиције Србије.

Види још
Камов Ка-60
Бел 212
Бел 206
AW-139

Референце

Литература

Спољашње везе

 Official Sikorsky S-76 page
 FAA S-76 Type Certificate Data Sheet
 S-76 database by serial number, tail numbers, models, and current status
 S-76A/A+/A++ Specs & Photo on flugzeuginfo.net
 S-76B Specs & Photo on flugzeuginfo.net
 S-76C/C+/C++ Specs & Photo on flugzeuginfo.net
 BBC News - "Which party is winning the air war?"
 Serbia Police Aviation

Хеликоптери
Сикорски хеликоптери
Југословенски и српски авиони


There are lots of ways to describe kitesurfing – the adrenaline-pumping sport of riding the ocean's wave propelled by a flying kite. It's exhilarating, technical, difficult, even life-changing, some have said. At the High Five kitesurfing school, they also want to make sure that you enjoy yourself.
"We are the ones who provide the most fun," says Alex Vliege, one of the owners of High Five Kitesurfschool in Bloubergstrand, Cape Town.
And the reason why you can relax and relish the experience when taking lessons at High Five is because they work according to the highest standards. Their trainers are accredited: the gear is top notch; they teach in all the best locations and at good rates; and they can teach anyone from beginner to pro.
High Five is situated adjacent to Kite Beach, Bloubergstrand, which is right where Red Bull King of the Air "the most badass, big-air kiteboarding contest in the world" takes places. It's a buzzing spot during kitesurfing season in the summer. "Kite beach is just in front of our door," says Vliege. It's a buzzing kite spot during kitesurfing season in the summer. High Five is also in other prime kitesurfing locations in the Western Cape, including Big Bay, Hermanus and Langebaan. After the first lesson, most of the training takes place at the Flatwater Lagoon called Shark Bay, in Langebaan, that's where their kitesurf shuttle heads to every windy day.
For the Wave Clinics, you have to be a high flyer or getting there. Or, as High Five says, you have "to be stoked to hit the waves." You choose between two: a one-day lesson of three hours, or a three- to four-day lesson of about 12 hours.
Note: High Five has a 3-for-2 lesson special for kitesurfing and stand up paddling lessons.
To Book: Email info@high-five.co.za, call +27 (0) 72 902 7899 or simply drop by the shop (it's adjacent to Kite beach). For more information, visit www.high-five.co.za.
High Five embodies the surfer lifestyle and runs surf hostels in a chilled atmosphere, and they have hostels and apartments from Table View to Blouberg.
High Five also has other outdoor adventure activities, from abseiling to skydiving.
Once you've got the hang of kitesurfing, why not try surfing or stand up paddling.
Indulge your inner adrenaline junkie with our pick of the best extreme sports in Cape Town and surrounds. There are tons of other fun and exciting things to do in Bloubergstrand.
Go paintballing, kitesurfing, sandboarding or on an adventure tour at Zeestock Adventure Lodge.